Why is Chartres cathedral of such outstanding importance in the study of Gothic art and architecture?

Chartres was one of the first great Gothic cathedrals with flying buttresses instead of tribune galleries. These buttresses was an external system, which applied counter-acting force sideways towards the cathedral wall, thus resists the tendency of the walls to bulge out from the lateral pressures. As extra support was provided by the buttresses, there was less need for strong upper walls in the cathedral consequently this allowed for large stained glass windows providing further light to the interior. An additional element which displays evolution from the past is Chartres uses the flying buttresses as an integral element of its structure and not merely as reinforcement. At Chartres the chapels which radiate from the ambulatory project beyond the flying buttresses, this was imitated in the cathedral of Le Mans. As a result of the innovative use of flying buttresses at Chartres which was used as an example for later cathedrals makes it very important to the study of architecture.

Furthermore, the buttresses had aesthetic value; “happenings of great importance are placed in prominent positions: the Nativity is shown on the front of the north buttress, the Last Supper in the corresponding position on the south”. The small figures on the doorposts and buttresses seem related with “a bloody sacrifice from the Old Testament”  under the Last Supper and a “representation of David with harp”  under the Nativity scene. These sculptures show twelfth century symbolism and Gothic interpretation of many of the most prominent biblical stories which are still intact to this day which bring a great importance to Chartres in the study of Gothic art.

The buttresses allow for the majestic stained glass windows which bring a warm atmosphere into the cathedral with their abundant light and sparkling colours. Despite destructions in the eighteenth century, the glass works of Chartres Cathedral are widely recognized as the finest example from the High Gothic era, and the only 13th century cathedral to have an almost complete collection from the Middle Ages. In the fourteenth century “churches which adopted the immense windows invented at Chartres were being called ‘lanterns’, an image surely intended to evoke not only the light emitted from between the bars of a lantern but also the roles of saints as spiritual beacons” . In omitting the gallery the master-builder was able to achieve the “principle of translucent walls in all parts of the building…[he could also]…give greater height to the side aisles as well as the clerestory windows”  therefore the side aisles of Chartres “illuminated be large windows, became a luminous foil enveloping the nave” . The famous Blue Virgin window which was completed in the twelfth century completes one of the most complete collections of medieval stained glass still in existence. With the symbolism and decoration of the stained glass windows, it makes the Chartres cathedral especially unique for the study of art, this is heightened by the fact that this the only cathedral from the High Gothic period with the original stained glass windows in place.

There is a Gothic tendency to merge together “mathematical with the ornamental [which can be seen] in Chartres cathedral and it is most apparent in the three great roses”. The rose, designed with geometrical influences is made with bar tracery to divide up the sections of glass. The rose is symbolic in religion to represent the Virgin Mary, who was in the past, venerated and considered on a par with Christ himself. The south rose window for example beautifully (and typically) depicts images of the virgin and child, accompanied by the man, lion, eagle and ox symbols of Matthew, Mark, Luke and John.  this makes it especially important in the study of both Gothic art and architecture as the symbolism as well as the precision are both key elements of the art and architecture in the Chartres Cathedral.

Construction of the north tower at Chartres, began in the 1130s before the cathedral in its current form was conceived, originally had a wooden spire, in all probability similar in shape to the stone structure of the 1160s which still crowns the south tower. No other spires from this period or earlier has survived making the one at Chartres even more important for architects interested in the Gothic period. In addition, Wilson (1990) believes “the chances are that it was due to the influence of Chartres that tall needle-like spires of stone or timber came to be regarded as indispensable adjuncts to major Gothic towers”. Verticality was a key aspect of Gothic architecture. In the exterior of Chartres and other Gothic structures this was expressed through a use of pointed ‘Gothic’ arches. Gothic openings such as doorways, windows, arcades and galleries all have pointed arches. Visually the pointed arch “suggests an aspiration to Heaven”; however it also gives a superior flexibility to structural form. The pointed arch can be used to conduit the burden of a vaulted ceiling onto the bearing piers or columns at a sheer angle, permitting a more elevated ceiling. A new type of pier was introduced at Chartres; they were of massive size, giving an impression of weight and stability. These piers had a circular core divided into four sections by four shafts and the style was widely adopted in other Gothic buildings. As these were introduced at Chartres and were then evolved into use in other cathedrals of the High Gothic period as well as those in the Rayonnant era it is interesting for an architect to see the original design of pier which was later adopted by many other cathedrals of the Gothic period. The master of Chartres dropped the traditional sexpartite vaults and adopted the “quadripartite vault, sprung over rectangular rather than square bays”, as this was innovative and influenced the architecture of many of the later cathedrals of the era it is a great source for Gothic architecture as it was the original building that transformed the way in which cathedrals were built.

The elongated jamb figures in the central doorway of the Chartres cathedral are a prime example of Early Gothic sculpture, showing elegance despite their odd stance as they appear to float. Traced on the body of these angular sculptures is a mass of longitudinal fine lines indicating the creases in garments, and emphasising their stretched height. In most cases the two sides of their sombre faces form almost complete symmetry. On the other hand on the northern portal you see examples of High Gothic sculpture. These figures are far more realistic in their proportions and their faces and movements are altogether more animated than those on the central portal, which appear to be more part of the structure of the actual building. These contrasting examples of Gothic sculpture and can be seen around the ornate cathedral at Chartres; subsequently it makes the cathedral important in the study of art and in particular sculpture of the Gothic period.

The ‘French Gothic’ design as shown in Chartres and then evolving from the Chartres design influenced cathedrals being built all across Europe during the Rayonnant period. The cathedral of Notre Dame at Chartres is an influential Gothic cruciform cathedral built upon Romanesque foundations, and was known as one of the first High Gothic buildings to be completed; bringing together the entire vocabulary of High Gothic together with its flying buttresses, stained glass and ornamental sculpture. Because Chartres is one of the original Gothic cathedrals and has influenced so many of the later High Gothic and Rayonnant period cathedrals it is of great importance to the architects interested in the history of Gothic sculpture.

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BIBLIOGRAPHY

Aubert, M (1969) Chartres Cathedral, London: Thames and Hudson

Bony, J. (1969) Chartres Cathedral, London: Thames and Hudson

Bony, J. (1983) French Gothic Architecture of the 12th and 13th Centuries, Los Angeles: University of California Press

Branner, R. (1959) Gothic Cathedrals of France and Their Treasures, London: Nicholas Kaye Limited

Norwich, J.J. (ed.) (1988) The World Atlas of Architecture. New York: Portland House, Pg. 217

Sauerländer, W. (1972) Gothic Sculpture in France 1140-1270, London: Thames and Hudson

Von Simson, O. (1988) The Gothic Cathedral (3rd Edition), Princeton: Princeton University Press

Wilson, C. (1990) The Gothic Cathedral – The Architecture of the Great Church 1130-1530, London: Thames and Hudson

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